Editing Viking metal (section)

=== Black metal ===
{{Main|Black metal}}
[[File:Mayhem-with-Attila-Csihar-Infernofestival-2010.jpg|left|thumb|[[Attila Csihar]] of [[Mayhem (band)|Mayhem]], a formative band in the [[second wave of black metal]]]]
Black metal is an [[extreme metal|extreme]] subgenre of heavy metal music that, mostly in Europe, emerged from [[speed metal]] and [[thrash metal]] in the 1980s. A "[[First wave of black metal|first wave]]" began in the early to mid-1980s, through the work of bands such as [[Venom (band)|Venom]], [[Hellhammer]], [[Celtic Frost]], [[Mercyful Fate]], and [[Bathory (band)|Bathory]].<ref>{{harvnb|Andrew|2015}}; {{harvnb|Kalis|2004}}</ref> The name black metal is taken from the 1982 [[Black Metal (Venom album)|album of the same name]] by Venom,{{sfn|Sherry|Aldis|2006|p=80}} while Bathory's 1984 [[Bathory (album)|self-titled release]] is generally regarded as the first true black metal record.{{sfn|Ferrier|n.d.a}} A "[[Second wave of black metal|second wave]]" developed in part as a reaction to the burgeoning [[death metal]] genre,{{sfn|Ekeroth|2009|p=247}} and in part inspired by the [[Teutonic thrash metal]] scene.{{sfn|Patterson|2013|p=59}} It was headed by the [[early Norwegian black metal scene]], through artists such as [[Mayhem (band)|Mayhem]], [[Darkthrone]], [[Burzum]], [[Immortal (band)|Immortal]], [[Emperor (Norwegian band)|Emperor]], [[Satyricon (band)|Satyricon]], [[Thorns (band)|Thorns]], [[Ulver]], and [[Gorgoroth (band)|Gorgoroth]].<ref>{{harvnb|Campion|2005}}; {{harvnb|Ekeroth|2009|p=247}}; {{harvnb|Kalis|2004}}; {{harvnb|Lee|Voegtlin|2006}}</ref> The early Norwegian scene became infamous for murders, assaults, and numerous [[Black metal#Church burnings|church arsons]] committed by members of the scene.<ref>{{harvnb|Campion|2005}}; {{harvnb|Lee|Voegtlin|2006}}</ref> Black metal lyrical themes are focused on [[Satan]] and [[Satanism]], which many first-wave bands used with a tongue-in-cheek approach, contrary to the more serious beliefs and vehement [[anti-Christian sentiment]] of many second-wave bands.<ref>{{harvnb|Hagen|2011|p=190}}; {{harvnb|Kahn-Harris|2011|p=220}}; {{harvnb|Kalis|2004}}; {{harvnb|Lee|Voegtlin|2006}}; {{harvnb|Weinstein|2011|p=42}}</ref>

Musically, the first wave of bands were just considered to be playing heavier forms of metal – Venom was part of the [[new wave of British heavy metal]], Celtic Frost was variously described as thrash metal or death metal, and [[Quorthon]] of Bathory simply labeled his music "heavy metal".{{sfn|Kalis|2004}} It was not until the second wave that black metal was more clearly defined. A key development during that period was a guitar playing style featuring fast, un-[[palm mute|muted]] [[tremolo picking]] or "buzz picking",<ref>{{harvnb|Campion|2005}}; {{harvnb|Hagen|2011|p=184}}</ref> introduced by [[Euronymous]] of Mayhem and [[Snorre Ruch]] ("Blackthorn") of Thorns.{{sfn|Campion|2005}} Other common traits for guitar playing include a high-pitched or [[treble (sound)|treble]] guitar tone and heavy [[distortion (guitar)|distortion]].{{sfn|Kahn-Harris|2007|p=4}} [[Guitar solo|Solos]] and [[guitar tuning#dropped tunings|dropped tunings]] are rare.{{sfn|Kalis|2004}} Overall, the guitar sound tends to be "thin and brittle" compared to other heavy metal genres, with the idea of "heaviness" conveyed through harshness and [[timbre|timbral]] density rather than low frequency.{{sfn|Hagen|2011|p=187}} The [[bass guitar]] tends to be buried under the guitar tones, even non-existent.<ref>{{harvnb|Hagen|2011|p=187}}; {{harvnb|Kalis|2004}}</ref> Drums and even vocals are likewise often mixed low,{{sfn|Hagen|2011|p=187}} with these production techniques resulting in a blurred "wash" of sound.{{sfn|Hagen|2011|p=187}} Vocals are usually high-pitched and raspy shrieks, screams, and snarls,<ref>{{harvnb|Hagen|2011|p=184}}; {{harvnb|Kahn-Harris|2007|p=4}}</ref> and rarely [[guttural]]s and [[death growl]]s are also employed.{{sfn|Hagen|2011|p=184}} The use of keyboards is also frequent.<ref>{{harvnb|Hagen|2011|p=184}}; {{harvnb|Kalis|2004}}</ref>

The influence of Scandinavian folk music within Norwegian black metal is apparent in the use by some guitarists belonging to that scene of [[drone (music)|drones]] and [[mode (music)|modal]] melodies reminiscent of the folk tradition.{{sfn|Hagen|2011|p=185}} [[Terje Bakken]] of [[Windir]] explained that ancient Nordic folk is easily integrated into metal idiom due to the "sad atmosphere" the two genres have in common.{{sfn|Hagen|2011|p=185}} Production values within black metal are often raw and [[lo-fi music|lo-fidelity]]. Originally, this was merely because many early second-wave bands lacked the resources to record properly,{{sfn|Kahn-Harris|2007|p=4}} but the practice was continued by successful bands in order to identify with their genre's underground origins.{{sfn|Dome|2007}} Though featuring these common traits, black metal spawned diverse musical approaches and subgenres, with some bands taking more experimental and [[avant-garde music|avant-garde]] directions.<ref name="Kalis 2004">{{harvnb|Kalis|2004}}; {{harvnb|Lee|Voegtlin|2006}}</ref> Other bands, such as [[Cradle of Filth]] and [[Dimmu Borgir]], embraced a more commercial sound and production aesthetic instead.<ref name="Kalis 2004" />